the 1908 Kunstschau, intending to have them turn- ed into tapestries. In a letter of 5 June 1908 to C. O. Czeschka, he wrote: "Ansunsten ist Kokoschka der Krach der Kunstschau. Mir gefallen die drei Bilder in der Ausstellung noch viel besser, und ha- ben wir sie ihm um bare 200 Kronen abgekauft, mit der Garantie, daß wir sie, wenn wir zu Geld kom- men, in Gobelins verwandeln!" The drawings, un- fortunately, are now lost, and lt seems certain the tapestrles were never executed. However, the fact of Waerndorfer's patronage of Kokoschka is in- teresting in itself, since it is evidence that he was prepared to concern himself not just with the ele- gantly erotic art of Beardsley, Klimt and the eariy Secession, but also with the rnore startlingly bru- tal avant-garde tendencies which came to the fore in Viennese art after 1908. These rnore advanced interests are also proved by his acquisition for the Wiener Werkstätte of a painting by Schiele from the Hagenbund exhibition of 1912, the picture known as Herbsrsonne or Herbstbäume: Schiele recorded the purchase in a letter to the collector Carl Reininghaus dated 11 April 1912." Even during his eariy years as collector, though he may have owed a good deal to the activities of the Secession and to the advice of friends such as Hoffmann and Moser, Waerndorfer rapidly distin- guished himself from other lnfluential patrons of the arts by his energy and flalr. Especially remark- able was his commission to Mackintosh to deco- rate and furnish an entire music room in Waern- dorfefs house in the Carl-Ludwig-Strasse, in Vien- na's nineteenth district - in fact, the only impor- tant commission the Scottish artist ever received from a continental patron. Waerndorfer's choice was all the more significant, since Mackintosh's work was comparatively little known in Europe at this time - desplte the success of the eighth Vienna Secession exhibition in the autumn of 1900, at which the "Glasgow Four" (Mackintosh, his wife Margaret Macdonald, Margarefs sister Frances, and her husband Herbert MacNair) had played so considerable a part," and the interest shown in the designs he had submitted for Alex- ander Koch's "Haus eines Kunstfreundes" compe- tition, published in a large portfolio in 1902 under the title Meister der Innenkunst." The Waerndorfer music room, was, however, quite unlike the music room Mackintosh designed for the "Haus eines Kunstfreundes" project, resem- bling rather the white-painted "Scottish room" at the Secession exhibition (which was presumably what inspired Waerndorfer to employ Mackintosh in the first place). The dominant features of the room were a deep frieze occupying the space bet- ween picture rail and ceiling, and the grand piano in its peculiar, rectangular case (fig. 6, 7). The co- lours were muted: white, gray "und das zarte Lila der Herbstzeitlosenä" The main source of natural light was from the window recess giving on to the Carl-Ludwig-Strasse, flanked by window seats. The window itself, seem dimly in fig. 7, must have been huge. Changes in the exterior brickwork of the house as it exists today show the trouble taken by some later occupant to restore this im- mense aperture to more normal proportions. An- other, very much smaller rectangular window in the chimney extension, which would have illumi- nated the inglenook (fig. 8), has also been subse- quently blocked up. The overall effect of the room was intimate and yet formal. Hevesi observed that afternoon tea would have been unthinkable in this "grotto of living rock", and described Vienna's so- ciety ladies sitting on Mackintosh's low, high- backed chairs, imagining themselves to be prin- CSSSES." Work on the Mackintosh room seems to have be- gun in the summer of 1902, and proceeded hand in hand with Hoffmanns remodelling of the adjacent 36 dining room." The two rooms were conceived and executed very much in one breath, and it was evi- dently intended they should be viewed in relation to each other. They were of similar dimensions, per- haps 7 rn long by 5,5 m wide, and were linked by a rectangular opening screened only by a double curtain decorated with a geometrical pattern on the one side by Hoffmann, on the other by Mack- intosh (fig. 9). This "cheek by iowl" juxtaposition would scarcely have created any jarring effect, since, as more than one critic observed, the work of the two artists was stylistically very similar at this period. indeed, one reviewer, writing about the Austrian contribution to the Paris 1900 exhibi- tion, even remarked that Hoffmann owed perhaps too great a debt to his Glasgow contemporar- iesßa. Hoffmann, however, never attempted any- thing quite like Mackintosh's elongated white chair which appears in fig. 6. This design, an ex- ample of which was displayed at the Turin Interna- tional Exhibition of Modern Decorative Art in spring 1902 (fig. 10), evidently took Waernd0rfer's fancy, since at least four such chairs are visible in surviving photographs of the music room. There was also a good deal of other free-standing furni- ture, including a white rectangular table, unique in Mackintosh's oeuvre, and also an oval table with ten legs, of which a replica was exhibited in Mos- cow in 1903." On the basis of the evidence that has so far come to light, it would seem that the Waerndorfer music room was probably destroyed at quite an eariy date - perhaps as eariy as 1916.15 Despite conti- nual rumours that this or that piece of furniture has turned up at some sale or in some private col- lection, not a trace of its furnishings or decora- tions has survived. Thus, we are dependent on ver- bal descriptions and on surviving photographs for any idea of what the room was like. The photo- graphs, however, provide only a partial glimpse of the interior; as a result, there have been disagree- ments among scholars over the precise detaiis of some of the decoration. Particularly puzzling is the question of the frieze which must have run along the upper part of the walls of the room. In the surviving photographs, probably taken in 1903 -or 1904, the spaces above the shallow cornice on each side of the room are bare, and are clearly waiting for decorative panels of some kind to be lnserted. Andrew McLaren Young, in his catalogue of the 1968 Mackintosh centenary exhibition, doubted whether these panels were ever in- stalled," but it is clear from descriptions provided by Hevesi and others that they were in place by 1909, and had probably been installed in 1906 or pcssibly 1907. There has also been some confu- sion as to the exact technique in which these pa- nels were executed, and indeed even as to their subiect. Helga Malmberg, who was Peter Alten- berg's companion and one of Waerndorfers em- ployees at the Wiener Werkstätte, described the walls as being "mit gobelinartigen Stickereien be deckt, die von einer englischen Künstlerin, Mrs. Macintosh [sie], entworfen waren. Sie stellten Sze- nen aus einem Gedicht von Rosetti dar und waren im Geschmack der englischen präraffaelitischen Schule gehalten"? Fortunately, Waerndorfer him- self wrote to Bahr about the subject matter of the panels. His letter confirms that the designs were indeed by Margaret Macdonald, but specifies as the source of the iconography Maeterlinck's play Les Sept Princesses (it was apparently Bahr who first introduced Waerndorfer to the work of the Belgian playwright): "Und diese Frau macht mir ei- ne 6 Meter lange Wand: Maeterlinck 7 Prinzessin- nen; und da soll ich auf Lesbos" (a reference to Waerndorfefs trip to Greece, undertaken eariy in 1904, apparently for reasons of health)?! He does not, however, specify the medium, and we have to 10 Charles Flennie Mackintosh, "Rose Boudoir" auf der Turiner Internationalen Ausstellung Dekorativer Kunst, 1902. Aufnahme nach Thomas Howarth, Char- les Rennie Macklnfosh and fhe Modern Movemenr, 2te Auflage, London 1977, Abb. B4B. 11 Innenaufnahme der "schottischen Abteilung" bei der B. Secessionsausstellung, Wien 1900. An der Wand The Mey Qeen, Paneel von Margaret Macdonald. Bild- archlv der Österreichischen Nationalbibliothek (Foto: Archiv) 12 lnnenaufnahme der "schottischen Abteilung" bei der 8. Secesslonsausstellung, Wien 1900. An der Wand The Wassail, Paneel von Charles Rennie Mackintosh. Bildarchiv der Osterreichischen Nationalbibliothek (Foto: Archiv) Anmerkungen 12 - 25 (Anm, 12 - 15 s. Text S, 34, 35, Anm, 26- 35 S. S. 3B) " Beardsley to Smithers, 7. 3. 1898; published in Lellers lrom Au- brey Beardsley lü Leonard Smlfhels, edfted with an lnlroductlon and Noles by F1. Ä. Walker. London 1537. According tO Walker (p. xll), Beardsleys drawlngs and letters from waerndorfers col- lectlorr were offared for sale In Marcn l914 by the Flyder Galle ries In London. Walker lmplles that et least some 01 the draw- lngs were not orlglnals, and also reports that the letters were "H01 exhibiled and were inspected with difficully." " Waerndorfer to Hoffmann. 23 December 1902; colleclion Frau Karla Hoffmann, Vienna. " "Life, Love, Art in Old Viennü. Memolres by Fritz Waemdorfer"; unpublished typescrlpl, collection Mrs. Fiorra Waerrrdorfer McOleary, Florida. " For a detalled descrlption Df the däbut Of the Wiesenlhal sisters, S89 Helga Malmberg, Widerhall des Henens. Eln Peter Allen- bEfyrßllCll, Munlßh 1961, S. B1 f. Curiously, in her memoirs Grete Wiesenlhal rnakes rro mentlon of Waerndorfer, although she does refer in pesslng to the Fledermaus; see G. Wieserlthal, Der Aufstieg, ÄUS dem LGDGII einer Tänzerin, Berlin 1919, pp. 219 -30. " Oskar Kokoschka, Mein Leben, Munich 1971, S. 55, v See Rudolf Leopold, Egon Schiele. Pairriings, Warercolours, Drawirrgs, London 1973, cal. no. 220 and n. 2. " On 1h6 Scollish contribution tD the elghlh SBCGSSIOH SXhibitiOn see Roger Billnlirle and Peter Vergo, "Charles Rennie Mackln- tOSVl and thS Austrlan Art RSVIVM", EUIHIIQIOII Magazine N0. 895, Vol. CXIX (November 1977), p. 739i. " On the detaiis of this competition see further Roger Billcliffe, Charles Rennie Maclrirrtosh. The Complele Fumllure, Furnlture Drawirrgs and lnlerior Designs, GuildfordlLondon 1975, p. 971. (Clted hereafter as "HillCliffG 1579"); SISD J. D. Kornwolf, M. H. Bailiie Scolr and rhe Ans and Cralts Movsrrrents, Baltimore 1972, p. 21er. I" Malmberg,op.clt.,S.10-1. 1' L. Hevesi, "Ein moderner Nachmittag", Flagrarrri, Stuttgart 1909, S. 175. 1' For a rnore dstalled descrlption of this commission see Peter Vergo, "Josef Hoffmann und Fritz Waerndorfer: Der Künstler und sein Mäzen", in the catalogue of the forlhcomlng Josef Hoffmann retrospective exhibition (Wien, Hochschule für ange- wandte Kunst), 1982 - 3. 1' Gabriel Mourey, "Flound the Exhlbltion. - IV. Austrlan Decorati- ve Art", TIIE SlLidiO XXI (1500), S. 114. 1' BlllGllffS 1979, D. 125 (cet. 1902.19); lt was evidently the replica exhiblted in Moscow in 1903 which was acqulred at auction by the Flne Art Soclety in autumn 1980. H For a more detalled account et the probabls fate of the Mackin- tosh music room and the Hoffmann dlnlng room, and the se- quence ol evsnts leedlnq up to thelr destructlon, see Peter Ver- gc, "Josef Hoffmann und Frllz Waerrrdorler", lDC. Clt.